Another little trick you can use to get around limitations with polyphony is resembling - that is, sample the sound you want and convert it to a HD1 program. That will significantly free up processing power at the expense of memory and SSD. Because the Kronos supports streaming from the SSD, it’s usually not even necesasary to loop the samples.

Downsides are that the resampled version won’t necessarily respond to tempo changes and you won’t have as much real-time control over the sound, plus it takes a little bit of work to setup. But within an hour you should be able to have a very good result.

Yes. In SEQ mode you can even sample certain parts of a song, for example all rythmic parts, save it in WAV file, import it as audio tracks in a new song. Doing that you free many polyphony voices._________________Kronos 2 73, Studiologic Sledge 2, Yamaha P90, Soundcraft EFX12, JBL LSR308

Another little trick you can use to get around limitations with polyphony is resembling - that is, sample the sound you want and convert it to a HD1 program. That will significantly free up processing power at the expense of memory and SSD. Because the Kronos supports streaming from the SSD, it’s usually not even necesasary to loop the samples.

Downsides are that the resampled version won’t necessarily respond to tempo changes and you won’t have as much real-time control over the sound, plus it takes a little bit of work to setup. But within an hour you should be able to have a very good result.

Yes. In SEQ mode you can even sample certain parts of a song, for example all rythmic parts, save it in WAV file, import it as audio tracks in a new song. Doing that you free many polyphony voices.

Converting midi tracks to an audio WAV is a useful workaround. I have done it to solve polyphony problems in SEQ recordings.

This is cumbersome from a Song creation workflow viewpoint- adds 12 extra steps. I think other creative artists are similar to me- in that we like a smooth work flow. This is why I like using up to 16 midi channels on the K's SEQ.

I am not complaining or expecting perfection. Just pointing out the priorities of a song writer who frequently records multiple tracks in an original._________________Kronos 88. nanoPAD2. Roland FA-07, MBP, UR44
Achieve your musical dreams https://soundcloud.com/user-898236994

Another little trick you can use to get around limitations with polyphony is resembling - that is, sample the sound you want and convert it to a HD1 program. That will significantly free up processing power at the expense of memory and SSD. Because the Kronos supports streaming from the SSD, it’s usually not even necesasary to loop the samples.

Downsides are that the resampled version won’t necessarily respond to tempo changes and you won’t have as much real-time control over the sound, plus it takes a little bit of work to setup. But within an hour you should be able to have a very good result.

Yes. In SEQ mode you can even sample certain parts of a song, for example all rythmic parts, save it in WAV file, import it as audio tracks in a new song. Doing that you free many polyphony voices.

Converting midi tracks to an audio WAV is a useful workaround. I have done it to solve polyphony problems in SEQ recordings.

This is cumbersome from a Song creation workflow viewpoint- adds 12 extra steps. I think other creative artists are similar to me- in that we like a smooth work flow. This is why I like using up to 16 midi channels on the K's SEQ.

I am not complaining or expecting perfection. Just pointing out the priorities of a song writer who frequently records multiple tracks in an original.

Yes Greg, I can understand that. This kind of workflow is far less intuitive and can dampen creativity.
But this example showed that despite its limitations, the Kronos has such a versatility that we can often find a way to solve many of them._________________Kronos 2 73, Studiologic Sledge 2, Yamaha P90, Soundcraft EFX12, JBL LSR308

I've got an ok'd original k73 and rarely these days run into note steeling. I think though that is because now when I make a combi I think about where across the keyboard I need those particular sounds. So I do a lot of splits and layers. I think I may have also just taught myself to play Ina way that saves notes. I know that may sound strange but say for example playing an orchestral combi. I've built some where I've added strings or changed some sounds. I try not to make a sound that is too dense. I've found that some sounds just don't cut through the mix and that led me to the realization that if you can't hear it, you don't need it. If I'm not mistaken there is some acoustic law of 6 decibels but I could be wrong on the number there.
The thing is, even if you are playing it, if it's not loud enough, you won't hear it in a dense mix.
Now I obviously do recognize that this may not apply to what you may be trying to accomplish and with judicious panning you can circumvent this acoustic rule.
The thing is to me though, if you have note steeling, maybe you might have just too many things going on.
No offence meant to anybody here. It's just what I've found._________________If music is the food of love, play on and play loud!
Gear: Kronos 73, Triton Pro-X, Wavestation EX, Polysix, King Korg, Monotron and Monotron Duo, Minikorg, 1 Roland U-20, Hammond M3, 4 accoustic and 6 electric guitars, 1 Ibanez 5 string bass, a bunch of microphones and other very cool toys, 1 wife and 2 cats!

[quote="jeremykeysa way that saves notes. I know that may sound strange but say for example playing an orchestral combi. I've built some where I've added strings or changed some sounds. I try not to make a sound that is too dense. I've found that some sounds just don't cut through the mix and that led me to the realization that if you can't hear it, you don't need it. If I'm not mistaken there is some acoustic law of 6 decibels but I could be wrong on the number there.
The thing is, even if you are playing it, if it's not loud enough, you won't hear it in a dense mix.
Now I obviously do recognize that this may not apply to what you may be trying .[/quote]

Which is why context is important. For live gigs or rehearsals, lets take orchestral combis as an example. The "large " orchestras are not as likely to be used- they have lots of detail and take up to 12 or more midi channels.

And the details would get lost in the rock band mix.

Recording is much different- I need the details of the large orchestra combi for a song. And I would add an AP, drawbar organ, MOD-7, ambient drums, E guitar with heavy FX. And Karma as much as possible. Thats the way I write originals- hybrid and using all 16 midi channels-most of the time.

So lots of note stealing and poof click goes polyphony. When you use multiple instruments with the great Kronos FX, then polyphony is a big deal._________________Kronos 88. nanoPAD2. Roland FA-07, MBP, UR44
Achieve your musical dreams https://soundcloud.com/user-898236994

I bought a new 88 Kronos 2 couple years ago on Black Friday sale for $2250. Have to say best buy I made. I still have lots to learn on it as I devote more time practicing piano trying to get better. But I play in a wedding band occasionally. I've been getting better at recreating sounds on songs and editing my combi sounds. Last night played a wedding and the kronos kicked ass. Sounds turned heads. Soundman said he never heard strings sound like that real, etc. Thank you Korg and if the same Black Friday deal happens again for someone I'd go for it.

I bought a new 88 Kronos 2 couple years ago on Black Friday sale for $2250. Have to say best buy I made. I still have lots to learn on it as I devote more time practicing piano trying to get better. But I play in a wedding band occasionally. I've been getting better at recreating sounds on songs and editing my combi sounds. Last night played a wedding and the kronos kicked ass. Sounds turned heads. Soundman said he never heard strings sound like that real, etc. Thank you Korg and if the same Black Friday deal happens again for someone I'd go for it.

Kronos is so versatile I think it can bring out the best for any keyboardist , whatever the venue, live performer, or studio musicians, for many years.

I still play my Kronos almost every single day. I love building Combis out of various Progs. Sometimes you can get an amazing sound from even one key by layering. Use various delays and other EFX to add depth and motion.
The only time I've ever been disappointed is when I myself have messed something up.
I find that as I get better acquainted, my Kronos just keeps on surprising me. It may not be the "be all and end all" of systems, but it certainly is IMO the best workstation out there and quite frankly; and yes I do know that I may be in the minority; I don't care if Korg comes up with a newer, faster, bigger one. I still have yet to get a handle on the Mod7 and STR-1 engines. I haven't even touched them yet. 7 years in and still not even halfway there._________________If music is the food of love, play on and play loud!
Gear: Kronos 73, Triton Pro-X, Wavestation EX, Polysix, King Korg, Monotron and Monotron Duo, Minikorg, 1 Roland U-20, Hammond M3, 4 accoustic and 6 electric guitars, 1 Ibanez 5 string bass, a bunch of microphones and other very cool toys, 1 wife and 2 cats!

Yes, I know I should. It's all a matter of time for me. However, I still think that nothing else touches the Kronos! My favorite engines are the Polysix and MS-20. I really like to yes them together in a prog. AL-1 is great but I really wish there were knobs like the other 2 that I mentioned. For me that kind of GUI just seems to work better.
Oh well. It is what it is! _________________If music is the food of love, play on and play loud!
Gear: Kronos 73, Triton Pro-X, Wavestation EX, Polysix, King Korg, Monotron and Monotron Duo, Minikorg, 1 Roland U-20, Hammond M3, 4 accoustic and 6 electric guitars, 1 Ibanez 5 string bass, a bunch of microphones and other very cool toys, 1 wife and 2 cats!

I bought a new 88 Kronos 2 couple years ago on Black Friday sale for $2250. Have to say best buy I made. I still have lots to learn on it as I devote more time practicing piano trying to get better. But I play in a wedding band occasionally. I've been getting better at recreating sounds on songs and editing my combi sounds. Last night played a wedding and the kronos kicked ass. Sounds turned heads. Soundman said he never heard strings sound like that real, etc. Thank you Korg and if the same Black Friday deal happens again for someone I'd go for it.

Yes, I know I should. It's all a matter of time for me. However, I still think that nothing else touches the Kronos! My favorite engines are the Polysix and MS-20. I really like to yes them together in a prog. AL-1 is great but I really wish there were knobs like the other 2 that I mentioned. For me that kind of GUI just seems to work better.
Oh well. It is what it is!

AL-1 is my favourite, and probably the engine I have programmed the most. It is capable of great subtlety and power, although I hav not mastered getting sync leads that are as good (to my ears) as my trusty only EX5’s AN engine.

Four years on, I still love the Kronos and have barely scratched the surface of what it can do. That’s how I like my synths: Deep and mysterious.... _________________Derek Cook - Java Developer